\ 



PS 3505 
• R252 
B4 

1916 
'opy 1 



iternational Copyrighted (inEnglaruJf her Colonics, and 
ed States) Edition of the Works of the Best Authors 



No. 331 



BEYOND THE GATE 



A Morality Play in Two Acts 



BY 



IRENE JEAN CRANDALL 



Copyright, 1916, By SAMUEL FRENCH 



\mateurs may produce this play without payment 
of royalty. All other rights reserved. 



P r <ICE 25 CENTS 



New York 
SAMUEL, FRENCH 

PUBLISHER 

28-30 WEST 3Sth STREET 



London 

SAMUEL FRENCH, Ltd. 

26 Southampton Street 

STRAND 



BEYOND THE GATE 



A Morality Play in Two Acts 



BY 



IRENE JEAN CRANDALL 



Copyright, 191fi, by SAMUEL FRENCH 



Amateurs may produce this play without payment 
of royalty. All other rights reserved. 



NEW YORK 

SAMUEL FRENCH 

PUBLISHER 

2&-3D WEST 38TH STREET 



LONDON 

SAMUEL FRENCH, Ltd. 

26 SOUTHAMPTON STREET 

STRAND 



.• . 



*g& 



c;aim; 



CHARACTERS. 
Day-Dream. 

CORINNA. 

Idleness. 

Work. 

Pleasure. 

Toy. 

Love. 

Discontent. 

Failure. 

Clowns, Poppies, Slug-a-Bed, Sleepy-Head, 
Fancies, Child, Harvesters. 



Act I. Any room or any garden: Spring. 

Act II. Scene the same as Act I. Autumn. 



This Morality Play may be given on a stage set 
as a simple room looking out on to a garden, in a 
garden with a wall in the background, or out-of- 
doors. If great simplicity of setting is desired, it 
may be given with only a background of screens, 
draperies or tapestries. 

2 

Q)CL0 45195 
OCJ 18 I9J6 

*>u4> I . 



BEYOND THE GATE. 



COSTUMES. 

Corinna. — A simple white dress. Pink rose-buds 
in her hair. 

In the second Act she wears the same dress 
as in Act one, but it is soiled and torn. When 
she comes in she wears a plain, little cape to 
protect her from the autumn chill, and throws it 
off on entering. 

D ay-Dream. — A soft, flowing gown of pale green, 
the color of hope. It is cut in the Greek fash- 
ion and girded just above the waist by a cord 
of pale rose, silver and gold. 

Idleness — A gorgeous suit of motley green and red. 
with knee breeches and well fitting coat. A 
jaunty cap. 

Work. — A plain, rough suit of earth-brown, made 
with knickerbockers and nor folk jacket. A 
plain cap of brown. His shoes are mud-stained, 
but his clothes are neat and clean. 

Pleasure. — A gaudy, spangled dress of scarlet and 
black, made with a short skirt and low neck. 
She is decked with imitation jewels and there 
is paint on her cheeks. 

Joy. — A soft, clinging gown of sky-blue, cut in the 
Greek fashion and girded with a silver cord. A 
fillet around her head, with a silver star on her 
forehead. 

Love. — A simple dress of rose color. A wreath of 
white rose-buds on her head. 

Discontent. — A ragged yellow dress. Hair dis- 
heveled. 

3 



4 BEYOND THE GATE. 

Failure — Shrouded in coarse cloth of ash-gray. 
Clowns. — White Pierrot costumes with big black 

spots. Full bloomers, loose blouses with high 

ruff around the neck and caps. 
Poppies. — Full short skirts and silvery green waists. 

Caps like red poppies. 
Sleepy-Head and Slug-a-Bed. — White pajamas. 
Fancies. — Soft, clinging Grecian gown of pale rose. 

Soft, clinging Grecian gown of silver. Soft, 

clinging Grecian gown of gold. 

Each carries a scarf the same color as her 

gown. 
Harvesters. — First girl : Dress of corn yellow. 

Short skirt. 

She carries sheaves of wheat and wears a 

wreath of wheat on her head. 
Second Girl. — Dress of pale green. Short skirt. 

She carries a basket of fruit and wears a 

wreath of grape leaves. 
Two Lads. — Russet brown knickerbockers and white 

waists. They carry scythes. 



NOTE : — If it is desirable to have more take part in 
the play, the number of Fancies, Harvest < 
Clowns and Poppies can be increased. If only a 
few players are desired the same ones can ap- 
pear as Fancies, Poppies and Harvesters, with 
change of costume. The setting and costumes 
may be very simple and inexpensive or the play 
may be more elaborately staged, according to 
circumstances. All the parts may be taken by 
girls if so desired and rhythmical drills may be 
substituted for the dances. 

i. J. c. 



BEYOND THE GATE 

ACT I. 



Scene: — Any room or any garden. Spring. When 
the curtain rises Corinna is sitting studying a 
book. She is a sweet young girl of fifteen or 
sixteen dressed simply in white with pink rose- 
buds in her hair. Near her sits Day-Dream 
in pale green, the color of Hope, and with a 
faraway look in her eyes. Day-Dream is weav- 
ing at a small frame or loom. Corinna straight- 
ens up, closes her book with a sigh, and looks 
wistfully before her. 

Corinna. Oh, Day-Dream, I want to go out into 
the world. It was all very well to stay here when I 
was a little girl, but now that I have grown up I 
long for something different. (Wistfully) The 
great world is very beautiful, isn't it, Day-Dream? 

Day-Dream. It is wonderful. It is full of things 
you have never seen. 

Corinna. (Petulantly) Oh, I've seen so little. 
I have never been anywhere except here. I want to 
see what lies beyond the window of my own little 
room, and beyond our gate. 

Day-Dream. Ah, yes. You want to go even be- 
yond the hills. 

Corinna. (Eagerly) Yes — yes, — to see what I 
shall find. (Impatiently throwing down the book 
lying in her lap) I am tired of learning from stupid 
school-books. They are so dry. I have had lessons 
for years and years. 

5 



6 BEYOND THE GATE. 

Day-Dream. And now you want to learn from 
life. 

Corinna. Oh, I want to see what life is, and I 
want to be happy. 

D ay-Dream. Aren't you happy now? 

Corinna. (With a little pout) Oh yes, in a 
quiet, comfortable way, (Excitedly) but I want — I 
want to be happy in a different way — like the birds 
when they sing as if they would split their throats — 
like my little dog when he runs across the fields fast 
as the wind. I want to be like the wild, free things. 
(Stretching out her arms.) I sometimes dream of a 
garden way out there that is waiting for me to find 
it. 

Day-Dream. A beautiful garden with roses 
always in bloom and where weeds never grow. 

Corinna. (Surprised) How did you know, 
Day-Dream? That is just what I have been think- 
ing. 

Day-Dream. (Smiling) I am never very far 
from your thoughts, Corinna. And when you have 
found the garden, you dream that then a young 
prince will come and find you. 

Corinna. (Shyly) Yes, I hope he'll be very 
handsome — tall and dark and brave — and all the 
other girls will admire him, too, but 

Day-Dream. He will say that you are the most 
beautiful girl in all the world to him and he will 
kneel before and lay all his treasures at your feet. 

Corrina. (Eagerly) And we shall be very 
happy playing and singing in the garden, with no 
hard tasks to do. 

Day-Dream. And there will be no thorns on the 
roses, no clouds in the sky. 

Corinna. Why, Day-Dream, you must be very 
wise to know just what is in my mind and heart. 

Day-Dream. I have lived near the hearts of all 
young girls since the world began. 



BEYOND THE GATE. 7 

Corinna. (Looking at her in surprise) You 
don't look as old as that. 

Day-Dream . I am as old as the garden of Eden 
and as young" as a child's heart. 

Corinna. You are so wise. Perhaps you can tell 
me how to find my garden. 

Day-Dream. (Shaking her head and putting 
away her weaving) No, I'm only a weaver of 
dreams. 

Corinna. (Starting up) But I want to start 
out to-day. 

Day-Dream. You had better wait a little while, 
Corinna. 

Corinna. (Impatiently) Oh, I cannot stay here 
in this hum-drum place any longer. The days are 
passing and I must see the world. I shall soon be 
old like my grandmother who is content to sit read- 
ing and knitting. Then it will be too late to find 
the garden — or the prince. (Taking hold of Day- 
Dream's hand) Come. Let us go — now. 

Day-Dream. I can't go with you into the world. 
You will lose me out there where the people are 
crowding and pushing each other. 

Corinna. But that's where I want to go — where 
the crowds of people are. I want to see what they 
are like, all kinds of folks. I've met so few people 
and they are nearly all alike, just good, ordinary 
folks. I want to know all kinds — (With an awed 
whisper) Even the wicked ones. Day-Dream, have 
you ever met a villain? 

Day-Dream . No, Corinna, I've never even seen 
one. 

Corinna. Neither have I. I should so like to 
meet a truly villain. (Starting off) I'm going. 

Day-Dream. Then you must go without me. 

Corinna. (Carelessly) Oh, well, perhaps I 
shan't miss you when I find so many others. (Ptiz- 
zled) But I don't know which path to take. (Look- 
ing out to r.) There are two. Now, here's the road 



8 BEYOND THE GATE. 

that seems to lead to a lovely place. It is green and 
soft and winding. It must be an easy way to go. 
(Turning to l.) But right over there is another 
road that goes straight ahead. Do you see? 

Day-Dream. Yes, child, that road leads up a 
steep hill. 

Corinna. I want to see what lies on the other 
side of the hill, but I'm afraid that I should get very 
tired going up that road. Which path shall I take? 

Day-Dream. (Looking out towards r.) It is 
not for me to tell you, but look — look — there is some 
one coming up the soft, green path. Perhaps he can 
tell you. 

Corinna. (Excited, looking out r.) Oh, I see 
him. I wonder who he is. Do you think he is com- 
ing here? No that can't be. (Pouting) Nobody 
interesting ever comes here. 

(Laughter is heard outside.) 

D ay-Dream. Listen. 

(Thev stand listening while the sound of a banjo or 
guitar is heard and then the words of a rollick- 
ing song are wafted in) 

Idleness. — (On tsidc ) 
Oh, I'm a gay, jolly lad, 
I'm ever idle and glad, 
Come — come. Give me your hand, 
Heigh-ho to Do-Nothing Land. 

Come away — come away, 
Come with me and loaf and play, 
Dance and sing the live-long day. 
Come away — come away. 

Leave to others stupid work. 
All hard task- we'll ever shirk. 



BEYOND THE GATE. 9 

Good-bye, dull care, good-bye, 
To Do-Nothing Land we'll fly. 

Come away — come away, 
Come with me and loaf and play, 
Dance and sing the live-long day. 
Come away — come away. 

Corinna. Oh, he is coming here. (Clapping her 
hands) Goody. 

(Idleness comes in with a careless air. He is a 
shiftless, untidy lad, gorgeously dressed in mot- 
ley green and red. He pulls off his cap and 
makes a low bow.) 

Idleness. Good-morning, fair maidens. 

Corinna. (With sweet shyness) Good-morning, 
sir. 

Day-Dream. Won't you sit down and rest? 

Idleness. (Laughing) Rest? Oh, I never 
work. 

Corinna. Have you come a long way ? 

Idleness. Just from Do-Nothing Land. My 
name is Idleness. 

Corinna. And mine's Corinna. 

Idleness. That's a sweet name. 

Day-Dream. As sweet as rose-buds and Spring. 
It is a Greek word and means maiden. Every young 
girl is like as budding flower. 

Idleness. (Carelessly) There are some flowers 
in Do-Nothing Land, those that grow easily, without 
care. 

Corinna. (Eagerly) Oh, I wish I could see 
your country. I've never been anywhere but here — 
in this stupid place. 

Idleness. Come with me and you will have noth- 
ing to do all day long but just what you like. 



io BEYOND THE GATE. 

Corinna How lovely ! And shall I see the 
world ? 

Idleness. Well — you'll see some of it — not the 
high places, of course, because it isn't worth while 
to climb. 

(Sound of merry whistling) 

Corinna. I don't like to climb either, but I 
should like to look from a hill-top some times. 

Idleness. Maybe we could go up in a balloon. 

Corinna. Oh, yes, or an aeroplane. What fun! 

Day-Dream. Listen ! Some one outside is whistl- 
ing. 

Corinna. {Delighted) Oh, this is going to be 
such an exciting day. Come in — Come in. 

(Work enters from l. He is a healthy, stalwart lad, 
plainly dressed in earth-brown. He looks 
around witli a frank glance and then greets 
them heartily) 

Work. Good-morning, friends. I was told that 
a traveller would find a welcome at this house. 

Corinna. (Eagerly) Yes, indeed. Mother has 
gone away for the day, but I am glad to see you, and 
so is Day-Dream. We seldom have company, but 
to-day we have another guest. 

Idleness. (Stepping up to Work) My name's 
Idleness. 

Work. And mine is Work. 

Idleness. (Turning away with contempt) I've 
heard of you. You try to make this world a dull 
place. 

Work. I am trying to make it a happy one. 
(Whistles a merry tunc) 

Idleness. Happy. Hum. I'm the fellow that 
makes people gay and carefree. 

Day-Dream. Good-bye, Corinna. 



BEYOND THE GATE. n 

Corinna. (Trying to keep her) Oh, don't go, 
Day-Dream. I love you. Stay with me. 

Day-Dream. I cannot. You have reached the 
parting of the ways. Your Day-Dream cannot go 
with you. Farewell. 

Corinna. (Holding out her hands to Day- 
Dream as she leaves) But you will come back, 
dear Day-Dream ? 

Day-Dream. Sometimes when you are alone, I 
will come and sit with you. (She slips away) 

(Corinna looks sadly after her.) 

Idleness. Don't be down-hearted. Come with 
me, Corinna, and we will have a gay time. You shall 
do just as you please. 

Work. (Stepping forzvard) No, Corinna, don't 
go with Idleness. He makes the way seem pleasant, 
but he will lead you to Discontent and Failure. 

Idleness. (Angrily) What do you know about 
Discontent and Failure? 

Work. I do not know them as well as you do, but 
I do know this. I should not like to have them for 
my companions nor have this sweet young girl meet 
them. 

Idleness. Come with me, Corinna, and you shall 
play all day long or lie on the soft grass and watch 
the lizards basking in the sun and the butterflies 
flitting idly to and fro. You shall have no hard 
tasks in Do-Nothing Land, but only your own sweet 
will to follow. 

Work. Come with me, Corinna, and pitch in and 
help. I'm the fellow that builds snug bouses and 
lights snug fires and makes ready agamst the winter. 
But I need help. If you or I fail to do our share of 
work, then some one else must carry a double burden. 

Corinna. (Turning from one to the other) Oh, 
which way shall I turn? 



12 BEYOND THE GATE. 

Idleness. Pay no attention to that dull fellow. 
You'll have a hard, dull time if you go with him. 

Corinna. {Looking at Work's shoes) Why, 
your shoes are covered with mud. 

Work. Yes, because I have been working in the 
fields. 

Corinna. {Scornfully) You look like a farmer. 

Work. I am a farmer sometimes. Is that a dis- 
grace ? 

Corinna. {Hesitates and then pouts) I sup- 
pose not, but {With an admiring look at Idleness) 
I like a fine gentleman with stylish clothes and white 
hands. 

Work. {Scornfully) Fine gentleman, indeed. 
Feel that muscle. {Holds out his arm to Corinna 
who puts her hand on it timidly) Do you think 
there's some strength in that arm ? 

Corinna. {Timidly) Yes. 

Work. That muscle was made by doing some- 
thing useful. Nov/ feel that lazy fellow's flabby arm. 

(Corinna puzzled looks from one to the other.) 

Idleness. {Waving his hand gaily and saying 
in a drawling tone) Never mind. I don't go in for 
athletics. Too much like work for me. 

Work. Of course, Mr. Idleness, but if you and 
I ever have it out between us, you may wish you had 
a little more muscle. 

Corinna. {Looking at Work with questioning 
eyes) Why did you come ? 

Work. I came to show you the way to Joy and 
Love. 

Corinna. How can that be? I think I shall find 
Joy and Love if I go with Idleness. 

Work. No — no — do not trust him. Real Love 
and true Joy are never found with Idleness. Fol- 
low me. I'm with those who plough the fields and 
raise the grain. I'm the friend of the woman who 



BEYOND THE GATE. 13 

spins and weaves and sews. I'm in the busy factory 
wheels and I'm with the mother who cares for her 
little children and makes her home a comfort and a 
delight. 

Corinna. Oh, it is so hard to see the way. What 
shall I do? 

(Laughing voices outside.) 

1 

Idleness. Those are my friends outside. I will 
call them and you will see what gay company you will 
have if you go with me. 

Work. (Defiantly) Yes, call your companions 
— but call all of them. 

Idleness. You think I dare not? Very well. 
(Goes to R. and calls) Pleasure — oh, Pleasure, 
come in. 

Work. Let the others come too. 

(Corinna goes to r. and tries to look out, but 
Idleness prevents her.) 

Idleness. No — no, do not look. 

Corinna. Yes, let me see. Their voices sound 
gay, but I want to know how they look. 

Idleness. (Holding her back) No — no. Do 
not try to know too much. It may spoil your fun. 
Take things as they come. Do not stop to look or 
think. 

(Voices outside: — I'm coming too. No, you're not 
wanted. Are you ashamed of me? Stand back 
and let me go.) 

Corinna. I wonder, I wonder. 
Idleness. Pleasure is coming now. 

(Pleasure comes in gayly. She is a forzvard girl 
gaudily arrayed in a spangled dress in many 



14 BEYOND THE GATE. 

colors and wearing imitation jewels. She laughs 
a mirthless laugh.) 

Idleness. Yes, here's another companion for 
you, Pleasure. Tell her of all the good times we 
shall give her. 

Pleasure. If you come with us you shall do as 
you please the live long day, wear pretty clothes and 
do nothing but dance and sing and play. 

Corinna. Never have to learn stupid lessons? 

Pleasure. Oh, no, we never trouble ourselves 
with such disagreeable things in Do-Nothing Land. 

Corinna. How lovely! {Looking at Pleasure 
with admiration) I like you Pleasure. I think I'll 
go with you. 

Work. Her real name is not Pleasure. 

(Pleasure and Idleness start as if taken back.) 

Pleasure. (Defiantly) If my name is not 
Pleasure, then what is it? 

Work. That Corinna must find out for herself. 
If you were really Pleasure and not a sham, you 
would be on my side, for Delight and Joy are found 
with me. Wait, Corinna, until I call one of un- 
friends to meet you. (He goes to l. and calls softly) 
Joy. (Work stands silently at l. waiting for Joy 
while Idleness and Pleasure chat and laugh and 
Corinna admires Pleasure's ornaments. jnv 
comes in quietly and with stately grace. She is a 
young girl dressed in sky-blue with a silver star on 
her forehead) Corinna. this is Joy. I hope she will 
be your companion on life's journey. 

(Cortnxa looks from Pleasure to Joy and then 
back to Pleasure while [dleness and Work 
watch her intently.) 

Corinna. Joy is sweet but Pleasure is prettier — 
and gayer. 



BEYOND THE GATE. 15 

Idleness. (Triumphant) Oh, I knew she'd like 
Pleasure. 

Work. Yes, but Pleasure's prettiness is only for 
a day. It will fade. That paint will rub off her 
cheek and those spangles will tarnish. Look at Joy's 
eyes. There is a light that will grow brighter witli 
the passing of the years. 

Toy. I am not so gay as Pleasure, it is true, but I 
will walk with you hand-in-hand through sunshine 
and storm. I'll send a smile to your lips when you 
are reading a beautiful book, I'll make your eyes 
glad when you look up at the stars after a busy day. 
I'll give you delight in the simple flowers of the 
fields and blue of the sky, I'll make your heart beat 
faster when you serve those you love. 

Corinna. (Shaking her head doubtfully) Is 
that real happiness ? 

Idleness. (Laughs mockingly) No. Come with 
us and you will have fun and a high good time. It 
is Spring, the time to play — the time to idle. Every 
thing is calling you away frcm study and from work. 
Don't you hear the birds out there, calling — calling, 
" Come, Corinna, come? " 

Work. (Joyously) Yes, it's Spring, the time to 
plant and sow that you may reap in the Autumn. 
Your life is at the Spring. Corinna, don't you feel 
the call to be a worker, not a drone? Let's be up 
and doing and share in the labor of the world. 

(The sound of laughing and dancing outside.) 

Corinna. Who's that? 

(Idleness IogUs troubled and annoyed for a 

minute.) 

Work. Perhaps your other companions would 
like to invite Corinna to go with them. Why don't 
you let them in ? 



i6 BEYOND THE GATE. 

Idleness. (Goes and looks out r.) You think 
I'm afrai-d to let her see them. Well, I'll show you. 
(To those outside) Come in. 

(In troop two dozens dressed all in white like 
Pierrots, two Poppies in red silky skirts and 
caps sliaped like poppies and two little fellows 
in pajamas. Sleepy-Head and Slug-a-Bed. 
Idleness holds his sides and laughs, while 
Pleasure smiles mockingly. Corinna is be- 
zvildered. ) 

Idleness. (Introducing the new comers) These 
are for your amusement. My Clowns. 

(The clowns come forzvard and turn a somersault 
and go through other antics.) 

Idleness. — 
Tumble, tumble, tumble, 
Never, never stumble, 
Whirl and twirl, trip and skip, 
And dance with ne'er a slip. 
My merry, merry Clowns 
Banish all stupid frowns 
For play is right jolly 
And work is but folly. 

(The Clowns step back.) 

Dance for Corinna and show her what fun she can 
have in Do-Nothing Land. 

(The new companioiis join in a dance.) 

Pleasure. See, Corinna, what playmates you 
will have, what gay companions. Come with us. 

Corinna. Oh, I want to go with you. I want to 
be gay, to be happy. 



BEYOND THE GATE. 17 

Idleness. Come. 

Corinna. {With one look at Work) I wonder, 
I wonder where Idleness will lead me. 

Idleness. Into pleasant paths. 

Work. No, Gorinna, he is deceiving you. Don't 
listen to him or you will know bitter regrets. You 
will never be happy if you go with him. A few 
days of gayety perhaps and then — disappointment 
and sorrow. 

Corinna. Oh, that cannot be. 

Work. {With great earnestness) Believe, me, 
Corinna, happiness does "not lie down that road. 
(Corinna gives her hands to Idleness and Pleas- 
ure) Wait, wait, Corinna, wait. If you will not go 
with me and take what I have to offer — wait until 
to-morrow before you decide. 

Corinna. No, I can't wait. To-day — to-day I 
want to be free! {She spreads out her arms as she 
speaks) 

Joy. {Wistfully) Then you do not wish me for 
your companion? 

Corinna. {Indifferently) Oh, you can come 
along if you like. 

Joy. No, I should soon die on the road that you 
are going. 

(Joy slips quietly away. Corinna dances gaily 
with Idleness and Pleasure while the others 
dance around them. Work stands sadly at one 
side watching them.) 

Idleness. — 
Oh, I'm a gay, jolly lad, 
I'm ever idle and glad. 
Come — come, give me your hand, 
Heigh-ho to Do-Nothing Land. 

Clowns, Poppies, etc. — 
Come away — come away 
Come with us and loaf and play 



18 BEYOND THE GATE. 

e 

Dance and sing the live long day 
Come away — come away. 

Idleness. — 
Where the drowsy poppies grow 
And we never plant or sow, 
We'll lie on the grass and sleep 
While the busy workers reap. 

Clowns, Poppies, etc. — 
Come away — come away, 
Come with us and loaf and play 
Dance and sing the live long day. 
Come away — come away. 

Idleness. — 
Leave to others stupid work, 
All hard tasks we'll ever skirk. 
Good-bye, dull care — good-bye, 
To Do-Nothing Land we'll fly. 

Clowns, Poppies, etc. — 
Come away — come away, 
Come with us and loaf and play, 
Dance and sing the live long day. 
Come away — come away. 

(Clowns, Poppies, Slug-a-Bed and Sleepy-Head 
go off R v dancing and laughing gaily. Corinna 
starts to follow with Idleness and Pleasure. 
Work looks after them with sorrow.) 

Work. Come, back, Corinna, come back. To- 
day you laugh, but soon you will shed bitter tears. 
You do not know what lies in store for you. Come 
back. 

{Laughter is the only answer.) 

CURTAIN. 



BEYOND THE GATE. 19 

ACT II. 

Scene: — The same as Act I. Autumn. 

(Day-Dream sits weaving while low music is 
played outside.) 

D ay-Dream . ( Softly ) 
I'm the weaver of day dreams, 
Life is never what it seems. 
Here's a thread of palest rose- 
In a^assie's dream it goes. 
Now this silver thread I take 
An old man's memories to make. 
I must weave for young and old 
Threads of silver, rose and gold, 
Making fancies, sweet and tender, 
For the soul's complete surrender. 
While you sit alone and ponder, 
I weave fonder dreams and fonder, 
Till with longing unfilled 
Every human heart is thrilled. 

(Day-Dream looks up from her weaving as Work 
and Love come in. Love is a gentle young girl 
dressed in rich rose, scattering flowers as she 
goes.) 

Work. Good-afternoon, Day-Dream. Has 
Corinna come back? 

Day-Dream. No, Work. I have been waiting 
here for her a long, long time. She is still out in the 
world. 

Love. (Impulsively) I must go and find her. 
Poor child, she may be suffering. 

Work. That is like you. Love, always wanting to 
seek the unhappy ones and serve them. 



20 BEYOND THE GATE. 

Love. That is Love — serving and giving. I can- 
not stay here, doing nothing when our dear Corinna 
may need a friend. 

Work. (Shaking his head sadly) No, we can- 
not go to her. We can do nothing until she wishes 
to come home, except keep the gate open. 

Day-Dream. I am weaving new dreams for her. 
I fear she will have lost all the old ones she had 
when she started off with her gay companions. 

Work. Poor, foolish child ! I wonder where 
Idleness has led her. Will she ever come home? 

Love. I knozv she will. If I cannot go out to 
seek her, then I will wait for her here, and when she 
comes she will find W T ork and Love ready to welcome 
her. 

Work. (Briskly) No, we cannot stay here. We 
must be up and doing. There are many others that 
need you, and I am busy. Corinna made her choice. 

Love. Oh, Work, you are hard. I'm afraid she 
may be unhappy. No matter how far she has 
wandered, no matter what mistakes she has made, I 
would go to her and take her in my arms and bring 
her to Joy. 

Work. (Sadly but firmly) That cannot be. 
Each one must choose his path and walk in it. She 
would not listen to me and said I looked like a 
farmer. She preferred (Scornfully) a fine gentle- 
man like the soft-handed Idleness. No indeed, I 
can't stay here. Good-bye, Day-Dream. 

Love. (Going reluctantly) Oh, Day-Dream, if 
Corinna comes home send for me. If she comes 
back disappointed and sorry she will be much in need 
of Love. 

Day-Dream. Yes. I shall stay here and weave 
new dreams for her. 

(Love and Work go out l. Day-Dream sits weav- 
ing. Soft music is played. Three young girls 
come in rhytlimically. One is dressed in pale 



BEYOND THE GATE. 21 

rose, another in silver and the third in gold. 
They carry long scarfs of the same color as 
their dresses.) 

Day-Dream . Ah, sweet Fancies, help me weave 
dreams for those who have lost theirs or worn them 
thread-bare. There are so many of them we shall 
need to weave busily to furnish them all with sweet 
new dreams. 

( The Fancies dance zvith their scarfs as if weaving 
a pattern and then slip quietly away. Corinna 
comes in from r. sad and tired. Her once 
pretty dress is soiled and torn and her flowers 
are faded. She carries weeds in her hands. 
Day-Dream looks up as she comes in.) 

Day-Dream. Home again, Corinna? 

Corinna. (Sadly) Yes, Day-Dream, I'm so 
tired, so tired. (Sinks into a chair) And so dis- 
appointed. 

Day-Dream. Didn't you find your garden? 

Corinna. (In despair) There isn't any garden. 

Day-Dream. You mean you didn't find it. 

Corinna. I went a long way to look for it. 

Day-Dream. Perhaps you took the wrong road. 
And the Prince ? Did you find him ? 

Corinna. (Shakes her head and looks wistfully 
before her for a moment) Everything is so different 
from what I expected. There are no roses without 
thorns. 

Day-Dream. When you went away it was 
Spring. 

Corinna. And the birds were calling to me, 
" Come, Corinna, come." 

Day-Dream. Like all young things you wanted 
to try your wings. 

Corinna. Yes, and so I went out into the world. 

Day-Dream. Now it is Autumn. 



22 BEYOND THE GATE. 

Corinna. And the flowers are dying in the fields. 

D ay-Dream. And you have come home — a poor 
tired bird with a broken wing. Were you not happy 
in Do-Nothing Land with Idleness and Pleasure? 

Corinna. (Scornfully) Happy? No. It was 
very gay for a little while and I had lots of fun, but 
soon I was tired of doing nothing and the days 
dragged along with heavy feet. 

Day-Dream. Is it not a beautiful country where 
you have been ? 

Corinna. No, indeed — not beautiful. There are 
no flowers in Do-Nothing Land, because no one will 
take care of them. (Holding out the weeds) There 
are only these ugly weeds. Why didn't somebody 
tell me what it was like? (Reproachfully) Why 
didn't you tell me? 

Day-Dream. You would not have believed me 
then. Work warned you, but you would not listen 
to him. 

Corinna. Yes, I know. 

Day-Dream. (Getting up and looking at Co- 
rinna's dress) Why, your pretty dress is soiled 
and torn. 

Corinna. Yes, everybody is careless in Do-Noth- 
ing Land. 

(There is a noise outside.) 

Day-Dream. Listen. Some one is coming. 

(Corinna starts in alarm.) 

Corinna. I'm afraid it's Discontent. She fol- 
lows me everywhere, she's like my shadow. (Enter 
Discontent, a petulant, sulky girl in ragged yellow. 
She goes over to Corinna and stands silent and 
sullen. Drawing away from her) Oh, why did you 
follow me here? Can I never get away from you? 



BEYOND THE GATE. 23 

Discontent. I always stay with those whose 
hands are idle and whose hearts are empty. 

Corinna. (Impatiently stamping her foot) Go 
away, I don't want you. I hate you. 

Discontent. (Sulkily) Impatience and Hate 
will never drive me away. They are friends of mine. 

Corinna. Oh, why do you follow me? 

Discontent. Because you are always wanting 
what you can't have — like lots of other folks I know. 
(Looking around) What an ugly place this is. 

D ay-Dream. I think it is lovely. In my eyes it 
is beautiful because it is home. 

Discontent. Hum. I don't see anything lovely 
about it. I know people who have much finer homes. 
Don't you wish you could live in a handsome, big 
house, Corinna? 

Corinna. (Petulantly) Oh, I wish everything 
were different. I don't know what I want. 

Discontent. Look at your dress, Corinna. It's 
a sight. If you could only have a pretty, spangled 
dress like Pleasure 

Corinna. Oh, I haven't anything I want. 

(Discontent sits dozvn silent, immovable and 
sullen. Day-Dream goes back to her weaving. 
Corinna throws herself down at Day-Dream's 
feet, puts her head in her lap and sobs.) 

Corinna. I'm so unhappy, Day-Dream. 

(Day-Dream puts her hand gently on her head and 
strokes her hair.) 

Day-Dream. Don't cry, Corinna. I know that 
you have lost all your sweet dreams, but I am weav- 
ing new ones for you — fairer than the old ones. 

Corinna. I shall never have any more dreams. 

Day-Dream. Yes, you will, dear. I never tire 
of weaving them. Often a young girl loses her first 



24 BEYOND THE GATE. 

dreams and it is well, because these girlish fancies 
are sometimes made of poor, unreal stuff that will 
not wear and stand the strain of life. You see I 
have to use the material that is furnished me. I 
weave the best dreams I can out of the thoughts 
people bring me, but if the threads are poor and 
weak, the dream soon falls to pieces. It is so with 
your dream of idleness in a garden and a prince with 
treasures. That was woven of unreal threads and 
so it has fallen to pieces. But now you will bring 
stronger, truer threads to my loom and your new 
dream will be better than the old one. 

Corinna. (Looking up) But I am so disap- 
pointed. Why did I go with Idleness? 

Day-Dream. Because you were like most girls — 
you wanted to go the easy way. 

Corinna. Yes, I wanted to do as I pleased. Idle- 
ness deceived me. For a few days we had a jolly 
time along the road, then we came to Do-Nothing 
Land. We danced and sang and laughed at each 
other. I tore my dress, but no one would help me 
to mend it, they only laughed. I hurt my foot and 
fell on the ground, but they though it was a joke 
and laughed at me as I lay there in pain. They are 
all heartless. If you cannot be gay and make fun 
for them they care nothing for you. 

Day-Dream. Poor Corinna. 

Corinna. I wish I had listened to Work. 

Day-Dream. Perhaps he will come back. 

Corinna. (Sadly) It is too late. 

Day-Dream. Listen, I hear footsteps. 

(Corinna jumps up. Idleness comes in from r. 
gay as ever, but more careless and untidy.) 

Idleness. So I've found you at last. Why did 
you run away from Do-Nothing Land? 
Corinna. Because I was unhappy. 
Idleness. (Laughing) Silly. That's because 



BEYOND THE GATE. 25 

you stopped to think. Come on. We're going back. 
(Corinna shrinks from him in terror.) 

Corinna. No, I don't want to go with you. 

Idleness. Why not ? 

Corinna. Because I'm tired of that lazy, selfish, 
useless life? 

Idleness. (Sarcastically) It is not so very long 
ago that you were crazy about that (Drawling) 
lazy life. 

Corinna. (Sadly) I have learned some hard 
lessons since then. 

Idleness. Nonsense. It's foolish to learn lessons. 
Come on. 

Corinna. No — No. 

Idleness. (Taking hold of her hands) Yes, you 
must come. You choose to go with me and now you 
are unfitted for any life except with Idleness and 
Pleasure. Don't look so frightened. Didn't we give 
you a good time? Didn't my clowns make merry 
for you ? Didn't you like my gay companions ? 

Corinna. They are not all gay. (Pointing to the 
sulky figure) There is Discontent. 

(Idleness turns and sees Discontent.) 

Idleness. (Surprised and impatient) You here, 
Discontent? Why didn't you keep out of sight as 
I told you ? 

Discontent. I go where hands are idle and 
hearts are empty. 

Idleness. It was you that made Corinna run 
away from Do-Nothing Land, and now you have 
followed her here. 

Discontent. I'm sure I'm not here because I 
want to be. I never can go any where that I would 
like to go. And I think you treat me very shabbily. 
You are ashamed to own me as your sister. 



26 BEYOND THE GATE. 

Corinna. I made a great mistake, but surely it 
is not too late for me to try again. 

Failure. Too late. 

Discontent. Everything's against you. You 
have no chance. 

Failure. Give up trying. 

Corinna. (Bracing up) No, I will not. Day- 
Dream has told me that she would weave new dreams 
for me. You will, won't you Day-Dream ? 

Day-Dream . Yes, Corinna, do not lose heart. 

Corinna. And Work told me of a life that was 
different from yours. I'll find Work. 

Idleness. (Laughing) Find Work. That old 
stupid. 

Failure. You won't like it with that dull fellow. 
You'll find life with him very disagreeable. 

Idleness. And that's no joke. You had better 
come back with us. 

Corinna. No, I don't want to go with you. 

(Idleness laughs and beckons to Discontent and 
Failure. They go to him and then all three 
join hands and take hold of Corinna.) 

Corinna. (Calling loudly) Work — Work — I 
want you. Work, help me. 

Day-Dream. (Going to l. and calling) Love — 
Love, she needs you. 

Idleness. (Mockingly) 

My girl, you belong to us, 
Come you must without a fuss. 
Come — come, willy-nilly, 
Don't draw back, little silly. 

(Work and Love come rushing in.) 

Work. Did you call me, Corinna ? 
Corinna. Yes, save me from Idleness. 
Work. (To Idleness) Stand back. 



BEYOND THE GATE. 27 

Idleness. If it were not for you, Corinna would 
not have tired of Do-Nothing Land. I did not want 
her to meet you. 

Discontent. (Going towards Idleness) She 
will be lucky if she does not meet our other sister 
too. 

Idleness. (Disturbed) Don't speak of her. 

Discontent. As we came along the road, she 
was following us. Corinna did not see her, but she 
was not far behind us. 

Day-Dream. Who is this sister of yours? 

Discontent. You don't know her, Day-Dream. 
She doesn't belong to your world, but she's like me, 
she follows those whose hands are without work 
and whose hearts are without love. (Looking out 
r.) She's coming up the path now. 

Idleness. (Trying to prevent some one from 
coming in) Go away. You're not wanted here. 

(In spite of his efforts a grim figure comes silently 
in. The solemn figure is wrapped in coarse 
grey cloth the color of ashes and her head is 
bowed. Corinna sinks back in dismay.) 

Corinna. (To the grim figure) Who are you? 

Failure. (In a hollow voice) I am Failure. 

Corinna. Oh, I don't want to know you. 

Failure. I come to those who will not work, 
who seek the easy road and think to have their own 
way. Life is a failure. There is nothing worth 
while. 

Corinna. (In despair) I can't bear this. 

Failure. Those who go the way of Idleness will 
find failure at the end of the road. 

Idleness. Come, Corinna, we're waiting for you. 
You must go back with us. 

Corinna. (Drawing back) No. 

Failure. You can never do anything worth while. 
It is useless to. try. 



28 BEYOND THE GATE. 

(Discontent and Failure reluctantly withdraw, 
but Idleness tries to defy Work.) 

Idleness. What right have you to interfere? 

Work. The right of a friend to protect a girl. 

Idleness. She gave you marching orders once. 
She chose me, not you. 

Work. Yes, but she has called me to help her. 
She needs me now. 

Corinna. Yes, I need you — so much. 

Work. (To Idleness) Stand back. You can- 
not compel her to go with you. She is free. (Idle- 
ness retreats before Work) 

Corinna. (Gratefully) Oh, Work, I'm so glad 
you've come. You're so strong. 

Work. (Laughing) This is the time when the 
farmer's muscle helps out, isn't it? 

Corinna. Yes — yes. I don't want to spend an- 
other day with Idleness. 

Work. (Sternly) But you chose to follow him. 
You went that way of your own free will. 

Corinna. (Sadly) I know — I know. Help me 
to be free from him. 

Work. You must help yourself. 

Love. Don't be harsh, Work. (With tenderness) 
The poor child is unhappy. 

Corinna. (Looking wistfully at Love) You arc 
so gentle. I think you must be Love. 

Love. That is what my friends call me. 

Corinna. I looked and looked for you in Do- 
Nothing Land, but I didn't find you there. 

Love. No, I have never been there, but there are 
those in that country whom some falsefy call by the 
name of Love. I dwell in the Land of Industry and 
Service. 

Corinna. (Pleading) Oh, Love, let me go with 
you. 

Love. Arc you willing to banish selfishness from 
your heart ? 



BEYOND THE GATE. 29 

Corinna. (Humbly) I will try. 

Love. Are you willing to give and to serve ? 

Corinna. (Eagerly) Yes, Love, yes. 

Love. Then ask Work to teach you and I will 
walk by your side. 

Corinna. (Turning to Work) Work, I would 
not listen to you before. I thought the life with 
Idleness would be easier and pleasanter, but I made 
a great mistake. Is it too late to go the other way ? 

Work. Not if you are willing to learn. (Going 
to l.) Do you see that hill out there? 

Corinna. Yes, I have often wanted to stand on 
the top and look around, but I thought it was too 
hard to climb. 

Work. W r e can never reach the top without climb- 
ing. 

Idleness. How about a balloon ? 

Work. You are liable to come down faster than 
you went up. No, the only safe way is to climb. 
That is called the Hill of Difficulty. It is steep 
and hard to climb, but there is a beautiful view from 
the top. If you go with me, you will have to go up 
that hill. Are you willing to climb ? 

Corinna. (Who has been looking out L., sud- 
denly exclaims) Oh, there's a little child out there. 
See, he has fallen. He needs somebody to help him. 
(She rushes out) 

Love. She has started on the right path. 

Idleness. Foolish girl to put herself out for some 
one else. 

Discontent. She will probably get her feet 
muddy and w r ish she had not gone. 

Failure. It won't do any good any way. It's 
useless to try to help people. 

(Corinna comes in carrying a little child in her 
arms. She puts the child on a chair and bends 
over him) 

Corinna. (To child with tenderness) Now, you 



30 BEYOND THE GATE. 



are all right, dear. I will take care of you. (Brushes 
dirt off the child's dress) There, I'll make your 
dress all pretty again. Oh, dear, it's torn. Well I'll 
mend it for you. (Turning to Work) Forgive me 
Work, for rushing off when you were telling me how 
I might learn to be one of your followers. 

W t ork. You have found the way, Corinna : Love 
has taught you to serve and the path of service leads 
to my country. 

(Love goes and kisses Corinna on the forehead) 

Work. Now you are ready to go with me, and 
Love and Joy will be your companions. 

(As Work speaks Joy's name she comes in radiant. 
Corinna welcomes her with outstretched arms.) 

Corinna. Oh, Joy, I didn't know you were so 
beautiful. Forgive me for saying Pleasure was 
prettier. She's not so lovely as you. 

(Pleasure come in with careless air.) 

Idleness. Here is Pleasure now, Corinna. to call 
you back to Do-Nothing Land before your foolish 
notions have led you too far in the other direction. 

Pleasure. Yes, Corinna, come on and have a 
jolly time and forget stupid Work and his com- 
panions. 

(Corinna looks at Pleasure for a moment in silence 
and with surprise.) 

Corinna. Why, you look different to me now. 
You are not pretty or happy-lcoking. I don't be- 
lieve that you are Pleasure at all. You are only pre- 
tending to be Pleasure. 

Pleasure. (With a mocking laugh) If I am 
not Pleasure, then who am I ? 

Corinna. (Bewildered) I don't know what to 
call you, but I know that you arc not real. Work, 
what is her real name? 

Work. Folly. 



BEYOND THE GATE. 31 

Pleasure. Oh, so that's what you call me, is it ? 
Well, what of it, if I am Folly ? I never lack for fol- 
lowers. I have plenty of company, but your eyes 
are too sharp. I will go to those who still look upon 
me as Pleasure. (With a toss of her head) I bid 
you adieu. (She goes out r.) 

Joy. (To Corinna) I have been waiting a long 
time to come to you, but I had to stay away until 
you had made your heart ready for me. There are 
so many that do not know that I am waiting for the 
chance to make their hearts glad. 

Corinna. Yes, like foolish me, they go far from 
home to seek you where there are only selfish plea- 
sures and silly amusements and then come back at 
last to find you with Work and Love. 

Joy. (To the audience) Are there any here who 
have sought for me and failed to find me? If so, I 
am waiting to come to you. Open your eyes. I am 
here. Make room in your hearts for joy. 
(Idleness, Discontent and Failure have been 

gradually withdrawing. ) 

Failure. Failure cannot stay where Work and 
Joy are at home. I will follow you no longer, 
Corinna. (Goes out r.) 

Discontent. I go to sit at other firesides, where 
hands are idle and hearts are empty. (Goes out r.) 

Idleness. (Laughing defiantly) So, Work, you 
think you have won another young girl away from 
me. It's a dull life she'll have, but if she likes 
it she's welcome to go. 

Work. We may meet again when some other 
young girl is dreaming of the future and ready to 
start out in life. 

Idleness. (Defiantly) And you'll • see who'll 
win next time. 

Work. I'll win whenever the girl has clear eyes 
to see you as you are and know the true worth of 
things. 



32 BEYOND THE GATE. 

Leave to others stupid Work, 
All hard tasks we'll ever shirk. 
Good-bye, dull care, good-bye, 
To Do-Nothing Land we'll fly. 

{He goes out r.) 

Corinna. I'm glad he's gone — lazy thing. I was 
afraid I'd never get away from him. Thanlc good- 
ness, Work, you came just in time to rescue me. 

Work. Like the Prince in the fairy tale ? 

Corinna. Yes, but you came in disguise and I did 
not know you for my Prince. 

Work. And so you would not go with me. 

Corinna. Not at first. {With a radiant smile) 
But now I'm happy as a lark. 

Work. And we'll go singing on our way to- 
gether. 

Day-Dream . I have woven new dreams for you. 

Work. And we'll make those dreams come true. 

Joy. I bring you gifts without price — joys that 
money cannot buy. 

Work. Yes, Corinna will see that work's the best 
kind of fun if we only like it and do it heartily. 
Now I will call the companions that will go with us 
on life's journey. {While soft music is played in 
come the Harvesters. One girl in corn yellow 
carries sheaves of wheat and wears a wreath of 
wheat on her head. Another girl in pale green car- 
ries a basket of fruit and wears a wreath of grape 
leaves. Two lads dressed in russet brown carry 
scythes.) These are the happy workers. 

{The Harvesters join in a dance while the others 
group themselves naturally on either side of the 
stage.). 
Idleness. — 

CURTAIN. 



LIBRARY OF CONGRESS 



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